Heterogeny in Analyses of the Greek God Hermes: a Systematic Review
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Brahms Reimagined by René Spencer Saller
CONCERT PROGRAM Friday, October 28, 2016 at 10:30AM Saturday, October 29, 2016 at 8:00PM Jun Märkl, conductor Jeremy Denk, piano LISZT Prometheus (1850) (1811–1886) MOZART Piano Concerto No. 23 in A major, K. 488 (1786) (1756–1791) Allegro Adagio Allegro assai Jeremy Denk, piano INTERMISSION BRAHMS/orch. Schoenberg Piano Quartet in G minor, op. 25 (1861/1937) (1833–1897)/(1874–1951) Allegro Intermezzo: Allegro, ma non troppo Andante con moto Rondo alla zingarese: Presto 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Jun Märkl is the Ann and Lee Liberman Guest Artist. Jeremy Denk is the Ann and Paul Lux Guest Artist. The concert of Saturday, October 29, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer. 24 CONCERT CALENDAR For tickets call 314-534-1700, visit stlsymphony.org, or use the free STL Symphony mobile app available for iOS and Android. TCHAIKOVSKY 5: Fri, Nov 4, 8:00pm | Sat, Nov 5, 8:00pm Han-Na Chang, conductor; Jan Mráček, violin GLINKA Ruslan und Lyudmila Overture PROKOFIEV Violin Concerto No. 1 I M E TCHAIKOVSKY Symphony No. 5 AND OCK R HEILA S Han-Na Chang SLATKIN CONDUCTS PORGY & BESS: Fri, Nov 11, 10:30am | Sat, Nov 12, 8:00pm Sun, Nov 13, 3:00pm Leonard Slatkin, conductor; Olga Kern, piano SLATKIN Kinah BARBER Piano Concerto H S ODI C COPLAND Billy the Kid Suite YBELLE GERSHWIN/arr. -
Bibliography
Bibliography Abramiuk, M.A. The Foundations of Cognitive Archaeology. Cambridge & London: The MIT Press, 2012. Abbott, Evelyn, and E.D. Mansfield. Primer of Greek Grammar. Newbury Port, MA: Focus Classical Reprints, 2000 [1893]. Ahl, Frederick. “The Art of Safe Criticism in Greece and Rome.” American Journal of Philology 105 (1984): 174–208. Ahl, Frederick. Metaformations: Soundplay and Wordplay in Ovid and Other Classical Poets. Ithaca and London: Cornell University Press, 1985. Ahl, Frederick. “Making Poets Serve the Established Order: Censoring Meaning in Sophocles, Virgil, and W.S. Gilbert.” Partial Answers 10/2 (2011): 271–301. Alexander, Michelle. The New Jim Crow. New York: The New Press, 2010. Alexanderson, Bengt. “Darius in the Persians.” Eranos 65 (1967): 1–11. Alexiou, Margaret. The Ritual Lament in Greek Tradition. Cambridge: Cambridge Uni- versity Press, 1974. Alfaro, Luis. “Electricidad: A Chicano Take on the Tragedy of Electra.” American Theatre 23/2 (February 2006): 63, 66–85. Alley, Henry M. “A Rediscovered Eulogy: Virginia. Woolf’s ‘Miss Janet Case: Classical Scholar and Teacher.’” Twentieth Century Literature 28/3 (1982): 290–301. Allison, John. Review of Carl Orff: Prometheus (Roland Hermann, Colette Lorand, Fritz Uhl; Bavarian Rundfunks Symphony Orchestra and Women’s Chorus, Rafael Kubelík, cond.; live recording, Munich, 1975), Orfeo C526992I (1999). http://www.classical-music.com/review/orff-2. Andreas, Sr., James R. “Signifyin’ on The Tempest in Mama Day.” In Shakespeare and Appropriation, (eds.) Christy Desmet and Robert Sawyer. London: Routledge, 1999. Aristophanes. Lysistrata, The Women’s Festival and Frogs, (ed.) and trans. Michael Ewans. Norman: Oklahoma University Press, 2011. Armstrong, Richard H. -
Prometheus C Prometheus Helios Helios Hd
LISTINO AL PUBBLICO 2017 ARMASIGHT PRODUCTS FOR OUTDOOR AND TACTICAL APPLICATIONS PROMETHEUS C Pubblico ivato TAT179MN2PROC21 Prometheus C 336 2-8x25 (9 Hz) FLIR Tau 2 - 336x256 (17μm) 9Hz Core, 25 mm Lens €4.078,63 TAT173MN2PROC21 Prometheus C 336 2-8x25 (30 Hz) FLIR Tau 2 - 336x256 (17μm) 30Hz Core, 25 mm Lens €4.078,63 TAT176MN2PROC21 Prometheus C 336 2-8x25 (60 Hz) FLIR Tau 2 - 336x256 (17μm) 60Hz Core, 25 mm Lens €4.247,79 Accessories for Prometheus C ATVR000002 IRIS Wireless Head Mounted Display for High-Performance Digital and Thermal devices €2.836,03 IALA00AMRF22001 AMRF2200 - Advanced Modular (Laser) Range Finder for LFR Clip-On systems, and High- Performance Digital and Thermal €4.604,90 devices ATAM000005 HD DVR - High-Definition Digital Recorder for all Armasight High-Performance Digital and Thermal devices €490,77 ATAM000008 Extended Battery Pack - Extended Battery Pack with Rechargeable Batteries for all Armasight High-Performance Digital and €542,98 Thermal devices ANAMTM0003 Tripod with a Grip €501,21 ANHC000001 Hard Shipping/ Storage Case #101 €162,89 PROMETHEUS TAT179MN4PROM31 Prometheus 336 3-12x42 (9 Hz) FLIR Tau 2 - 336x256 (17μm) 9Hz Core, 42mm Lens €5.306,60 TAT173MN4PROM31 Prometheus 336 3-12x42 (30 Hz) FLIR Tau 2 - 336x256 (17μm) 30Hz Core, 42 mm Lens €5.306,60 TAT176MN4PROM31 Prometheus 336 3-12x42 (60 Hz) FLIR Tau 2 - 336x256 (17μm) 60Hz Core, 42 mm Lens €5.548,85 Accessories for Prometheus ATVR000002 IRIS Wireless Head Mounted Display for High-Performance Digital and Thermal devices €2.836,03 IALA00AMRF22001 -
Taking Care of Business in the Age of Hermes Bernie Neville
Trickster's Way Volume 2 | Issue 1 Article 4 1-1-2003 Taking Care of Business in the Age of Hermes Bernie Neville Follow this and additional works at: http://digitalcommons.trinity.edu/trickstersway Recommended Citation Neville, Bernie (2003) "Taking Care of Business in the Age of Hermes ," Trickster's Way: Vol. 2: Iss. 1, Article 4. Available at: http://digitalcommons.trinity.edu/trickstersway/vol2/iss1/4 This Article is brought to you for free and open access by Digital Commons @ Trinity. It has been accepted for inclusion in Trickster's Way by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Neville: Taking Care of Business in the Age of Hermes Trickster's Way Vol 2 Taking Care of Business in the Age of Hermes Bernie Neville The Story of Our Times For the past half century, we have been hearing from various sources that human consciousness and culture is undergoing some sort of transformation.[1] The story we hear is sometimes the story of a collapsing civilization and an inevitable global catastrophe and sometimes a story of a coming bright new age, but the pessimistic and optimistic versions have certain themes in common when they address the nature of th contemporary world. The story we hear is a story of complexity and chaos, of the dissolution of boundaries, of deceit, denial and delusion, of the preference for image over substance, of the loss o familial and tribal bonds, of the deregulation of markets, ideas and ethics, of an unwillingness of national leaders to confront reality and tell the truth, of the abandonment of rationality, of the proliferation of information, of a market-place so noisy that nothing can be clearly heard, of a world seen through a distorting lens, of an ever-tightening knot which we cannot unravel, or an ever-unraveling knot which we cannot tighten, of planetary dilemmas so profound that we cannot even think about them sensibly, let alone address them. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Prometheus, the Firebringer
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1983 Volume II: Greek and Roman Mythology Prometheus, the Firebringer Guide for Curriculum Unit 83.02.03 by Kelley O’rourke Prometheus, the Firebringer is a unit developed for the Conte School theatre curriculum but it could be easily adapted and used in an English or Language Arts class. The Titan, Prometheus, was chosen to be the center of this unit as he is one of the few figures to appear in both the ancient narrative and dramatic forms of Greek mythology. This unit uses the stories of Prometheus to teach basic theatre skills using a Creative Dramatics approach. Ancient literature sources such as Hesiod and Aeschylus are utilized as well as modern retellings. These stories will be explored in a variety of ways. Students will be led through an organic and graduating theatre process as they enter the world of Greek Mythology. Prometheus and his myths are the core of this curriculum unit, but students in reading about Prometheus will also study the Greek myth of Creation and will be exposed to the other Greek Gods. Prometheus is a major character in the tale of Zeus’ rise to power and his stories are entwined through many of the Greek myths such as the stories of Heracles and Io. In studying the myths of Prometheus students will see how the Greek myths were presented as one long narrative with characters weaving in and out of the ancient sources. Students will also be able to compare the myths as they appear in ancient and modern versions after reading the materials selected for this unit. -
Read Book ^ Titans: Atlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate
[PDF] Titans: Atlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys,... Titans: Atlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys, Theia, Iapetus, Coeus, Crius, Asteria, Epimetheus, Hyperion, Astraeus, Cron Book Review A superior quality pdf along with the font used was intriguing to read through. It can be rally exciting throgh reading through time period. You may like how the blogger create this book. (Dr. Rylee Berg e) TITA NS: ATLA S, TITA N, RHEA , HELIOS, EOS, PROMETHEUS, HECATE, OCEA NUS, METIS, MNEMOSYNE, TITA NOMA CHY, SELENE, THEMIS, TETHYS, THEIA , IA PETUS, COEUS, CRIUS, A STERIA , EPIMETHEUS, HYPERION, A STRA EUS, CRON - To download Titans: A tlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys, Theia, Iapetus, Coeus, Crius, A steria, Epimetheus, Hyperion, A straeus, Cron PDF, you should access the web link under and save the ebook or have accessibility to other information which are have conjunction with Titans: Atlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys, Theia, Iapetus, Coeus, Crius, Asteria, Epimetheus, Hyperion, Astraeus, Cron book. » Download Titans: A tlas, Titan, Rhea, Helios, Eos, Prometheus, Hecate, Oceanus, Metis, Mnemosyne, Titanomachy, Selene, Themis, Tethys, Theia, Iapetus, Coeus, Crius, A steria, Epimetheus, Hyperion, A straeus, Cron PDF « Our solutions was introduced with a want to serve as a total on the internet electronic digital catalogue that provides use of multitude of PDF file book assortment. You could find many kinds of e-publication and also other literatures from your paperwork database. -
Kodály and Orff: a Comparison of Two Approaches in Early Music Education
ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir. -
The Intention of the Prometheus Bound of Aeschylus
JUNE, 1875. No. 16.16, Mv.iac./fH/. BULLETIN OF THE UNIVERSITY of CALIFORNIA THESIS PREPARED AS A CANDIDATE FOR THE DEGREE OP BACHELOR OF ARTS, i ' By Josiah Royce, '75. 0 THE INTENTION OF THE PROMETHEUS BOUND OF .ESCHYLUS, BEING An Investigation in the Department of Greek Theology. Page 2.— Intboduction. .The nature of the discussion. " 4.—Section I The problem of the Prometheus Bound. " 7.— Section II The critical solutions suggested for that prob lem stated and briefly discussed. " 16. — Section III.... The Religious beliefs and feelings of the Greeks considered as affecting the problem. " 21.— Section IV. .The Theological and Artistic aim of the play. " 24. — Notes. Apkil 29th, 1875. University Press, Berkeley. 113 ""■"• ■ Mr , ,* , r c M r«r lmm . ^^ _ 0{, ?l BULLETIN OF THE HARVARO COUEGE LIBRA*; GIH OF JAMES M. PATON AU6UST.16,1828 THE INTENTION OF THE PROMETHEUS BOUND OF ^SCHYLUS. PREFATORY NOTE. The following discussion, having been prepared as a scholastic exercise, amid other duties and with considerable haste, is necessarily very incom plete, and no doubt any one who has paid any attention to the subject dis a it cussed will see great deal in that needs entire remodeling. I have pre pared it chiefly in the hope that the work done on it may be sometime of value to myself in future researches on kindred topics, and not at all in the expectation of affecting the views of any who have already formed views as to the nature and intentions of the Prometheus Bound. In fact, as will be seen, Greek Theology plays a much more prominent part in the discussion than does the play itself. -
Myth and Origins: Men Want to Know
Journal of Literature and Art Studies, October 2015, Vol. 5, No. 10, 930-945 doi: 10.17265/2159-5836/2015.10.013 D DAVID PUBLISHING Myth and Origins: Men Want to Know José Manuel Losada Université Complutense, Madrid, Spain Starting with a personal definition of “myth”, this paper seeks to substantiate the claim that every myth is essentially etiological, in the sense that myths somehow express a cosmogony or an eschatology, whether particular or universal. In order to do that, this study reassesses Classical and Judeo-Christian mythologies to revisit and contrast the narratives of origin—of the cosmos, of the gods and of men—found in ancient polytheism and in Judeo-Christian monotheism. Taking into consideration how these general and particular cosmogonies convey a specific understanding of the passage of time, this article does not merely recount the cosmogonies, theogonies, and anthropogonies found in the Bible and in the works of authors from Classical Antiquity, but it also incorporates a critical commentary on pieces of art and literature that have reinterpreted such mythical tales in more recent times. The result of the research is the disclosure of a sort of universal etiology that may be found in mythology which, as argued, explains the origins of the world, of the gods, and of men so as to satisfy humankind’s ambition to unveil the mysteries of the cosmos. Myth thus functions in these cases as a vehicle that makes it possible for man to return the fullness of a primordial age, abandoning the fleeting time that entraps him and entering a time still absolute. -
PROMETHEUS BOUND by Aeschylus
PROMETHEUS BOUND By Aeschylus In dealing with "Prometheus Bound," it helps to know something about Greek mythology, in particular, the generations of divine beings which preceded Zeus, Athena, Aphrodite, Dionysus, and the pantheon of Greek gods with whom we are familiar. Among other immortal beings at the dawn of time were the Titans, who fought against Zeus when he defeated his father, Cronos. With the help of the Hecatoncheires (the hundred-handed monsters), and the Cyclopes, Zeus prevailed, gradually taming his ferocious allies and reaching a rough accommodation with the Titans. One of the Titans was Prometheus, who remained somewhat rebellious. His name means forethought. His brother, Epimetheus, (afterthought) was slow to figure things out, but Prometheus could look ahead. He knew things the gods did not know. Prometheus had what the gods considered a character flaw: he had sympathy for humans. The Olympian gods were completely indifferent to the fate of mankind and were content to let them struggle for existence. Prometheus decided to give them something forbidden: fire. In giving humanity physical fire, he also endowed them with mental fire: intelligence and self-awareness. For this he was severely punished. His story was told by the Greek tragedian Aeschylus in three plays, only the first of which survives. Actually, scholars now doubt that Aeschylus was the author because the play calls for stage effects that did not exist when Aeschylus was alive. We can't be completely sure, because knowledge of dramatic techniques 25 centuries ago is sketchy, at best. However, what we can glean of Aeschylus' thought and temperament seems reflected in the play, so most are willing to cite him as its author until we have definitive proof otherwise.